Lin Jingjing’s work perhaps alludes to art emerging in a different form. In terms of symbolic documentation, it has the power to restore certain things which have been lost, and in a certain way, to make them eternal.

Often an artist’s activities in conceiving and completing an artwork are aimed at neutralizing the destructive force of death, including every form of death, from the “microscopic” to the “massive”, from the most symbolic to the most real.

The power of art can truly turn death into an opportunity for rebirth. Perhaps there still remains a bit of anxiety. Collecting and recording a part of the body as an act of preservation has an almost eccentric, ritual order to it. No matter how complete and beautiful it appears, there is still the pressure of loss and fear.

The death of others and the disappearance of material things hit us so hard because they represent our own death. Losing loved ones and things forever is no different than a part of ourselves dying.

In this light, the funerals held for others are nothing more than a disguised form of mourning for the self.

It seems as if Lin Jingjing hopes to use her works to remove the veil that prevents us from seeing and recognizing this mechanism, bringing us directly into individual existence and the source of pain.

by Maurizio Giuffredi

林菁菁的作品: 我的365天，也许暗示艺术以其它形式出现和在象征记录上，使某些失去的东西复活的能力，以某种方式使它们永恒。

通常一个艺术家在构思和完成作品时的活动，几乎总是以抵消死亡的毁灭力为目的，包括任何种类死亡，从最'微小的'到最'巨大的'，从最象征性的到最实在的死亡。

艺术的力量确实可以使死亡成为再生的机会，也许还带着一丝忧伤和隐约不踏实的感觉，收集保存记录自己身体的一小部分的补救行为有着近乎神经质的仪式般的规律性，虽然尽善尽美，但表现的仍然是失落的恐惧和压力。

他人的死亡和物品的消失对我们的打击之所以如此巨大，是因为也代表着我们自己的死亡，不复存在的亲人和物品无异于我们自身的一部分已经死亡。因此为他人举办的丧礼，只不过是为自己致哀的一种伪装而已。

似乎林菁菁想以其作品扯去那层阻止我们看见和认清这个机制的面纱，直接引入个体的存在和伤痛之处。

--毛栗子.朱弗洛伊德